Welsh Journals

To return to our Eisteddfod. Let us admit that it is not feasible to produce intimate comedy on the stage provided in the Eisteddfod Pavilion. Something cruder and more spectacular is required, and good specimens of this form of art are not very numerous for certain obvious reasons. But it generally demands the co-operation of all the arts, and for this reason alone it would be an advantage if such per- formances could occasionally be given. For the arts are too far separated in Wales, as they are in many countries. The pavilion could be easily adapted to this other purpose and it has been done in the past. The existing design is bad for any purpose and is repeated annually with little regard for altered circumstances or modem facilities. I should like to see a new design for a large Pavilion adaptable to dramatic purposes even as far as opera; for some day Wales may achieve a National Orchestra, a need more urgent than a National Theatre. Also a design for a small Pavilion not far from the larger, suited for the more intimate competitions and more intimate performances. This would relieve the horrible congestion which turns the ordinary Eisteddfod into a pandemonium, and give room and play to all the talents. This arrangement was common on the continent and incidentally, it will involve a new competition amongst the architects, a very important branch of the artists not hitherto involved. Some day Wales may wish to have a festival of music and drama as well as a series of competitions. This could be done in association with the Eisteddfod, in prolongation of it or as a separate endeavour on the same site. There is no reason beyond that of lack of organisation and experience why Wales should not have a festival as well known and as excellent as any in Europe. But again, Wales may not want such a development, nor can I blame her if she does. not. These are purely the speculations of an alien and if ever they should come to pass I shall not be there to see or hear. But there are such vast possibilities of which I have only given a slight and hesitant indication Wales comes to the field without false prepossessions, without a load of cumbering schools and tendencies but with all the experiments, faults and achievements of the past in other lands at her disposition. All that is to be learnt of the dramatic art, less the actual experience, is displayed for her instruction. If she cares to go forward with these means something of great moment may be accomplished. Indeed, the unity and co-operation demanded for the practice of this and the kindred arts may be of more value to her than the incidental success. Chirk Castle, N. Wales.